Harbal As A Channel Strip
Posted: Mon May 05, 2008 1:05 pm
Let's get some opinions on how best to eq a track with harbal. There is brief reference to it here:
http://www.har-bal.com/ipw-web/bulletin ... php?t=1000
http://www.har-bal.com/ipw-web/bulletin ... .php?t=904
But, this sounds like a bigger topic. Here's my 2 cents:
Currently the way I mix is to analyze every track with har-bal. I don't bounce anything extra, I just direct harbal to the proper file in the audio files folder, then I set my track eq to simulate the harbal filter. What's the best filter for a track could be a complex subject, but at the least, it helps to see what you're dealing with.
For me, the best track eq is to treat it like a master. I like a fairly flat response for most instruments throughout their range. So if a vocal comes in at 250 hz, I like to see it relatively flat up to ~ 10 khz (but dont get carried away from 4khz to 9 khz). This forum has some excellent posts about how best to approach this, and I think it takes hundreds of hours of experimentation to get good with harbal.
Most people would disagree with this approach (flat response for each instrument). For instance, this is the opposite of the "give each instrument it's space" advice that is usually given - to notch holes in instruments so other intruments / vocals can peak through. I find that concept is useful at times, especially to protect the lead vocal, but doesn't work for me on a songwide basis.
Anyway, just my 2 cents (and I'm probably wrong). But, I don't know how I would live without harbal. What's your approach?
http://www.har-bal.com/ipw-web/bulletin ... php?t=1000
http://www.har-bal.com/ipw-web/bulletin ... .php?t=904
But, this sounds like a bigger topic. Here's my 2 cents:
Currently the way I mix is to analyze every track with har-bal. I don't bounce anything extra, I just direct harbal to the proper file in the audio files folder, then I set my track eq to simulate the harbal filter. What's the best filter for a track could be a complex subject, but at the least, it helps to see what you're dealing with.
For me, the best track eq is to treat it like a master. I like a fairly flat response for most instruments throughout their range. So if a vocal comes in at 250 hz, I like to see it relatively flat up to ~ 10 khz (but dont get carried away from 4khz to 9 khz). This forum has some excellent posts about how best to approach this, and I think it takes hundreds of hours of experimentation to get good with harbal.
Most people would disagree with this approach (flat response for each instrument). For instance, this is the opposite of the "give each instrument it's space" advice that is usually given - to notch holes in instruments so other intruments / vocals can peak through. I find that concept is useful at times, especially to protect the lead vocal, but doesn't work for me on a songwide basis.
Anyway, just my 2 cents (and I'm probably wrong). But, I don't know how I would live without harbal. What's your approach?